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KURT WEILL NEWSLETTER Vol KURT WEILL NEWSLETTER Vol. 3, No. I Spring, 1985 Yale Press To Publish Essays Threepenny Opera at R & H Yale University Press has accepted for publica­ As of 11 December 1984, Rodgers & Ham­ tion a coUection of essays on Kurt Weill sched­ merstein Theatre Library has added The uled for completion in 1985. A New Orpheus: Threej>enny Opera to its catalogue of plays for Essays on Kurt Weill evolved primarily from stock and amateur licensing in the United papers presented at the Kurt Weill Conference States. The American version by Marc Blitz­ in 1983. It includes a contribution from virtually stein ran for seven years at New York's Theatre every active Weill scholar throughout the world. de Lys in the late Fifties and had been previ­ AU of the papers have been expanded and ously licensed by Tarns-Witmark Music Library, revised and represent the most extensive criti­ Inc. cal survey of WeiU's music and career to date. The Rodgers & Hammerstein Theatre The coUection, edited by Kim Kowalke, was Library is preparing new scripts and vocal accepted unanimously by the editorial board of scores which will be consistent with the high this most prestigious of scholarly publishers. quality of their other publications. Jn addition to Among the highlights of the anthology are David Threepenny, R & H also administers stock and Drew's definitive study of Der Kuhhandel, a key amateur rights to Knickerbocker Holiday, Lost in work in WeiU's ouevre that has remained unpub­ the St,ars, and Street Scene. lished and unperformed since 1935. The book ;,We are thrilled and excited to announce the will attract readers from diverse disciplines, addition of Threepenny to our catalog ," said The­ since the essays tackle many issues central to odore Chapin, Managing Director of R & H. twentieth-century culture. Because the authors "As this work joins others by l&ill, our com­ had access for the first time to many primary pany hopes to establish an identification as a sources, the book provides new insights con• centralized source of Weill's music. We want to cerning the Weill-Brecht relationship, the para­ be the first company that theaters call when Lenya stars as the scheming Contessa in doxes of his career, and the major influences on they want to perform a show by Kurt Weill. "The Roman Spring of Mrs. Stone:' his music. It is particularly fitting that the collec­ Beyond this, we take special pride in acquiring a tion will be published by Yale Press since Yale major property which has no prior connection to holds the Weill/Lenya Archive and has a distin­ either Rodgers or Hammerstein:' 'Roman Spring' Released guished history of major perfom1ances ofWeill's "Rodgers & Hammerstein are the Rolls­ on Videotape music. Royce of the industry in terms of quality in rental ''The Roman Spring of Mrs. Stone," the materials and service to the theaters," said Kim 1961 film for which Lotte Lenya won an Academy Kowalke, President of the Weill Foundation. Award nomination for Best Supporting Actress, Venus Slated for Broadway "The authors' heirs are delighted to assign this has been released on videotape by Warner work to a first-rate agency and to have Weill's Home Video (11183. color. 104 mins.l, at a list The heirs of S. J. Perelman, Ogden Nash, musicals among the classics of the repertoire:' price of$59.95. and Kurt Weill have signed an option by Lew Inquiries regarding The Threepenny Opera Based on a short novel by Tennessee Wil­ Resseguie and Francis J. Vacca to present a should be made to The Rodgers & Hammer­ liams, "Roman Spring" is the story of a lonely, revival of One Touch of ¼mus on Broadway stein Theatre Library, 598 Madison Ave., New ,vidowed American actress (played by Vivien next season. Paige O'Hara will return to the York, New York 10022; telephone: (212) 486- Leigh), who becomes involved with Paolo, a role of Venus, which she played in the 1983 7373. young gigolo (Warren Beatty) while living in concert production by the New Amsterdam Weill Recordings Win Citations Italy. Lenya plays the Contessa, who arranges Theatre Company at New York's Town Hall. and then disrupts the assignation. In its recent The terms of the agreement require use of When the "Best of the Year" awards were review of the video, The New Thrk Times lik­ Weill 's original orchestrations, and the pro­ passed out for 1964 recordings, at least three ened Lenya's Contessa to "a poisonous macaw." duction will utilize an orchestra of 28 players. major publications included Weill albums in their Jose Quintero directed. Opening date, theater, artistic staff, and the lists. Newsweek cited the Sequoia String Quar­ Also currently available on video are "Semi­ remainder of the cast have not been an­ tet's new recording of the string quartets Tougb" [Magnetic Video/Twentieth-Century nounced. This will be the first revival on [Nonesuch 79071-1] as among the year's ten Fox 4517-30), a 1977 Burt Reynolds comedy Broadway of the classic musical, which best. The CBS reissue of Aufstieg und Fall der featuring Lenya 's last film appearance (as a opened in 1943 and vaulted Mary Martin to St,adt Mahagonn.y [CBS Masterworks 77341; sadistic masseuse); and "From Russia With fame in her first lead. The original production M3X 37874] captured first place in Ovation's Love" [Twentieth-Century Fox4566], the 1963 was directed by Elia Kazan, choreographed "Vocal Reissues-Mono" category and was cited James Bond thriller with Lenya in her most by Agnes de Mille, and conducted by Maurice as an outstanding historical issue by Opera widely-known role: Rosa Kleb, the villainous Abravanel. News. SPECTRE agent with knives in her shoes. LETTERS From the Editor 1985 is a double anniversary year: Kurt To the Editor: To the Editor: Weill's 85th birthday and the 50th anniversary I just read the perceptive piece by Alan Rich. l would like to than.k you and the Kurt Weill F oun­ of Weill and Lenya's arrival in America. In "M~va canta Brecht," in the latest issue of the dation for Music for the very complimentary and Newsletter. lt seemed to me factually accurate, but commemoration, an article by Dr. Henry well-considered review of the Arena Stage produc­ Marx in this issue focuses on the Americani­ not very nattering to the singer. Since I grew up in tion of Happy End. It is rare (especially in the !he­ Italy I can perhaps provide a few remarks to com­ ater, regrettably) that the reviewer knows the zation of Weill and Lenya. Dr. Marx, a long­ plete the picture with an ltalian point of view. material so thoroughly. Rarer still is the review time friend of Lenya's, is currently Editor of Milva started out as a popular singer of no particu­ where the music in a musical lbeater work draws Aujbau. Also featured in this issue is the first lar distinction. I remember how her encounter with scrutiny. publication of examples of the correspon­ Giorgio Strehler produced a metamorphosis in her As music director for the production I was partic­ dence held in the archival collections at Yale singing style and acting. T he Jtalian director was ularly delighted to hear your perceptions of the mu­ M.ilva's Pygmalion. Her performance in the Milan University and at the Foundation's Weill-Le­ sic. On one point, though, I should lll<e to set the nya Research Center in New York. It is hoped production of The Threepenny Opera was quite suc­ record straight: you spoke of the omission of the ressful. Strehler has always been regarded as a that this survey will call attention to lbose col­ second trumpet for the two brief songs in which it is lections and the wealth of valuable materials faithful interpreter of Brecht. Brecht himself, as a required, "In Our Childhood's Bright Endeavor," which are becoming available. matter of fact, once congratulated him for the effec­ and ''March Ahead." It was my great good fortune tive staging of one of his works. to have Stephen Crout. who played lhe piano and As the Newsletter concludes its second year 's l did not attend Milva performance in Los harmonium so superbly for the production, reveal of publication, I would like to express my grat­ Angeles but r heard her several times and, I am con­ that he played the trumpet as weU. Because there is itude to all of the authors who have contrib­ vinced that neither StTehler nor Milva could ever no keyboard in the orchestration for either of those uted articles. Their unselfish efforts have approach Brecht and Weill quite the way a German Salvation Army hymns, Mr. Crout (or his very occa­ would (and as Rich would want them to). They do assisted us in establishing an editorial policy sional "sub" David Kane, who is also more than which makes it possible to present a unique notintend to do so, and it would be hazardous if they competent on the trumpet) joined the rest of the tried. It would be like Germans trying their hand at mix of the scholarly and the popular to a di­ ensemble under the stage for those songs at every verse public. Italian opera or an Italian singing Schubert. What single performance without exception. The only Strehler and Milva did was not to imitate a German omission of second trumpet was its listing next to The title of this publication is purposely 110/ production, but to provide a version of The Mr. Grout's name in the program.
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